I met Freddie again.

March 23 of 1985, I met Freddie again. (Jim met him about a couple years before at a club, was told he was Freddie Mercury but didn’t quite know who he was at that time, nor did he think twice about it as he had another partner). The day started like any other. I made myself some supper, then headed out wearing jeans and a white vest. The look at the time was ‘High Clone,’ complete with mandatory mustache. I got the tube to Vauxhall and when the Market Tavern closed, I fell straight into the back of a minicab and went to Heaven. I arrived fairly late, after paying the cab I only had £5 to my name.

I went straight downstairs to the bar and ordered a pint of lager. ‘Let me buy you this,’ said a voice. I looked up. It was the chap from Cocobana in 1983. Freddie thing. I’d had a fair amount to drink. My tongue had loosened up. My defences were down. ‘No, I’ll buy you one,’ I said. ‘A large vodka tonic,’ came back the reply. He introduced himself as ‘Freddie’. I now knew he was Freddie Mercury, but still had little inkling who he actually was, nor what he did. It didn’t seem to matter.

Freddie asked me to join his crowd of friends, who were grouped in the middle of the bar. Joe Fanelli was there, Peter Straker, and a couple others. I haven’t got a clue what we talked about that night, I let them do most of the talking. Freddie and I danced, I was a bit of a raver in those days. I could tear the floor to bits along with anyone unlucky enough to be in my way. For a few good hours I threw Freddie across the dance floor. I think he admired my unselfconscious, bullish dancing. While Freddie told me the story of his life that summer we discovered there was a special chemistry between us. I fell in love with so much about Freddie, regardless of what he did for a living. He had those big brown eyes and a vulnerable, child-like persona. He was quite the opposite of the sort of man I’d ever fancied before… He appeared to be remarkably insecure but he was totally sincere and I was hooked!Jim Hutton


Queen performed at Nippon Budokan in Tokyo, Japan

22 March 1976, Queen performed at Nippon Budokan in Tokyo, Japan 🇯🇵 “A Night At The Opera” Tour This is the first show of Queen’s nine total eveningsThe band arrived at 3:00 PM for soundcheck Freddie is in great voice tonight, but it is a bit of a difficult night for Brian. First, he breaks a string in the first chorus of ‘White Queen,’ and has to struggle through the next verse of the song before he take a quick break to switch to a spare guitar for the solo.Brian, after ‘White Queen’: “Thank you,

it’s good to back. It’s been too long. We’ve been away too long. You might remember this one from Sheer Heart Attack. This is Flick Of The Wrist.” For the encore, Freddie appears in a kimono, wearing it like a gown. He removes the kimono to reveal his red and white striped hot pants! The female fans, making up more than half of the audience, are delighted by his sexy appearance. ♥️🤍Freddie, after the medley: “I hope you’re all having a good time! I bet you are. If I could do it in Japanese I could say, right now we’d like to feature Brian May on the guitar.” The audience responds very enthuasiastically nonetheless. “This is a song that we didn’t do last time, but we’re gonna do it now. A song called Brighton Rock.”


Freddie Mercury with the lovely Mary Austin

Freddie Mercury with the lovely Mary Austin late 70s “Freddie was fun. The only times I saw him really serious were when working on songs. The house would be totally still, but full of a quiet energy.”“But Freddie’s personality was always there, whatever the mood. It was always moving, influencing the running of the house. It was like the volume button on the radio. There are not a lot of people who can walk into a room and there’s something they bring into it which makes it warm and genial. And then, when they leave, it goes.”Mary Austin 2013 Interview Credit to the photographer for this beautiful gem!


Freddie Mercury The Final Act – RTS Nomination The Royal Television Society (RTS) has unveiled the nominees for this year’s RTS Programme Awards.The Best Arts Programme – “Freddie Mercury: The Final Act” (Rogan Productions for BBC)The story of the extraordinary final chapter of Freddie Mercury’s life and how, after his death from Aids, Queen staged one of the biggest concerts in history, the Freddie Mercury Tribute Concert at Wembley Stadium, to celebrate his life and challenge the prejudices around HIV/AIDS.

The film hears from those who performed at the epic gig, including Gary Cherone (Extreme), Roger Daltrey (The Who), Joe Elliott (Def Leppard), Lisa Stansfield and Paul Young, as well as the concert’s promoter, Harvey Goldsmith.For the first time, Freddie’s story is told alongside the experiences of those who tested positive for HIV and lost loved ones during the same period. Medical practitioners, survivors and human rights campaigners, including Peter Tatchell, recount the intensity of living through the AIDS pandemic and the moral panic it brought about.James Rogan, the director, was just a child when Freddie died.

He was shocked to discover just how vicious the tabloids were in their assessment of the Queen frontman in the days and weeks after his death. “I’m essentially a human rights filmmaker, so I’m quite used to observing human rights abuses and I’ve documented many over the years,” James tells PinkNews. “But I find it unconscionable – one wonders how somebody writes into print some of the things that were said about Freddie after he died, and what the conversation is with oneself – what that journalist is saying to themselves as they write this stuff.“In the documentary, Roger Taylor says, ‘We were very angry about what happened to our friend,’ and my response to that was, ‘Damn right,’” James says. “

We’re angry. We’re very angry about what happened. You cannot look at that situation and not be angry. People died alone. People died without an acknowledgement of their humanity. People were shamed after they died, and I don’t think you can respond to that with anything but anger – and also with slight alarm that these behaviours still exist very much today.”The ceremony will take place Tuesday 29 March 2022 @ London’s Grosvenor House HotelSource: Queen Online News and Royal Television Society We’re really excited to see this poignant documentary nominated. One of the best, truthful accounts of our fascinating legend! Fingers crossed 🤞🏼 Freddie Mercury ForeverThis phenomenal picture is from Wembley Arena 5 September 1984 (the Birthday Boy turned 38)


People think I’m an ogre,

17 March 1977 – Circus Magazine published the following article

“Freddie Mercury Joins the Bigtime: What It’s Like to Lead the British Touring Pack”

Back in the old days, we were often compared to Led Zeppelin. If we did something with harmony, it was the Beach Boys. Something heavy was Led Zeppelin. Robert Plant was always my favourite singer-and he’s said nice things about me, you know. He actually said he liked “Killer Queen”. We were always a sitting target in the press because we became popular so quickly. But, you know, we spent two years putting our act together. It destroys the soul to hear that you’re all hype, that you have no talent, and that your whole career has been contrived. I was never too keen on the British music press. They’ve called us a supermarket hype, and they used to suggest that we didn’t write our own songs. When the whole point of Queen was to be original.

I’m the first to accept fair criticism. But the dishonest reviews-where people haven’t done their homework-I just tear them up. I do get annoyed when up-and-coming journalists put themselves above the artist. I don’t care what journalists say, we achieved our own identity after QUEEN II. As for the Beach Boys or Led Zeppelin comparisons: it’s the combination of all those influences which means Queen. We were disliked by the press in the early days because they couldn’t put their finger on us, and that was the case with Zeppelin as well.

A lot of people slammed “Bohemian Rhapsody”, but who can you compare that to? Name one group that’s done an operatic single. You know, we were adamant that “Bohemian Rhapsody” would be a hit in its entirety. We have been forced to make compromises, but cutting up a song will never be one of them.

We’va always put our neck on the line. We’re fussy and finnicky and have very high standards. If a song can’t be done properly, we’d rather it isn’t done at all. We’re the fussiest band in the world, and we put so much loving into every album. We’re a very expensive group; we break a lot of rules. It’s unheard of to combine opera with a rock theme, my dear. And, we have no such things as a budget anymore. Our manager freaks when we show him the bill. We’re lavish to the bone, but all our money goes back into the product. We’ve gone overboard on every Queen album. But that’s Queen. If people said, “The new album sounds just like Night At The Opera”, I’d give up. Wouldn’t you?

After Sheer Heart Attack, we realized we’d estabilished ourselves. We felt that there were no barriers, no restrictions. A Night At The Opera featured every sound from tuba to a comb. Nothing is out of bounds. Every molecule of Day At The Races-every iota-is us. No session men. We don’t try to reproduce that onstage.

We’ve been slagged in the press for our flamboyant stage show. We think a show should be a spectacle. A concert is not a live rendition of our album. It’s a theatrical event.

In the early days, we just wore black onstage. Very bold, my dear. Then we introduced white, for variety, and it simply grew and grew. “Stone Cold Crazy” was the first song Queen ever performed onstage.

I have fun with my clothes onstage; it’s not a concert you’re seeing, it’s a fashion show. I dress to kill, but tastefully. My nail polish? I used to use Biba, now I use Miners. One coat goes on really smooth.

If we’re weird onstage, I don’t know what you’d call the Tubes. We’re a bit flashy, but the music’s not one big noise. I think we’re sophisticated. I like the cabaretish sort of thing. In fact, one of my early inspirations came from Cabaret. I absolutely adore Liza Minnelli, she’s a total wow. The way she delivers her songs-the sheer energy. The way the lights enhance every movement of the show. I think you can see similarities in the excitement and energy of a Queen show. It’s now Glamrock, you see; we’re in the showbusiness tradition.

The lavish presentation appeals to me, and I’ve got to convince the others. You don’t know how I had to fight for “Big Spender” on the last tour. We row about everything, even about the air we breath. We’re the bitchiest band on earth, darling. We’re at each other’s throats. One night Roger ws in a foul mood and he threw his entire bloody drumset across the stage. The thing only just missed me -I might have been killed. Yes, we’re all very highly strung. Once, Roger squirted Brian in the face with hairspray in a tiny, staming dressing room. They nearly came to blows. We’ve all got massive egos, my dear. The others don’t like my interviews. And frankly, I don’t care much of theirs. I’m very emotional; I think I may go mad in several years’ time.

People think I’m an ogre, you know. Onstage, I am a devil. But I’m hardly a social reject. My parents were very strict, actually. I was born in Zanzibar, September 5, 1946. My father was a civil servant. I learned to fend for myself in boarding school. All the bullying-I had the odd schoolmaster chasing at me. I was considered the arch poof. I’ve had my share of schoolboy pranks. That’s as much as I’ll divulge. I got my diploma from Ealing College of Art, in graphics and illustration. You know, I designed the Queen crest. I simply combined all the creatures that represent our star signs-and I don’t even believe in astrology. I think my melodies are superior to my lyrics. “Death On Two Legs” was the most vicious lyric I ever wrote. It’s so vindictive that Brian felt bad singing it. I don’t like to explain what I was thinking when I wrote a song. I think that’s awful, just awful. When I’m dead, I want to be remembered as a musician of some worth and substance.

Years ago, I thought up the name Queen. It’s just a name. But it’s regal, obviously, and sounds splendid. I like to be surrounded by splendid things. I like to browse around art galleries, but I’m a hard-working lad and I never have the time. I bought a house in London which I’d only seen in photographs. I know that’s absurd, but I had no time to go house-hunting. And I needed a place to move my furniture and clothes. I want to lead the Victorian life, surrounded by exquisite clutter.

I’m not into business at all. I’m hopeless with money; I simply spend what I’ve got. I guess I’ve always lived the glamorous life of a star. It’s nothing new-I used to spend down to the last dime. Now I’ve got money. I always knew I was a star.

And now, the rest of the world seems to agree with me.